It took me a long time to appreciate Brian Eno. As a punk-rock loving teen myself, his ambient work just didn’t initially connect with me and I was completely ignorant as to his amazing production resume. My narrow mind was finally blown watching Velvet Goldmine, as the opening credits blared the wild layered guitar of “Needle In A Camel’s Eye.” It was a start.

Robert Fripp was a different story. “21st Century Schizoid Man” hooked me on King Crimson and Fripp’s white-magic guitar wizardry right away. When they were heavy they were SO heavy, but Fripp would always take you on a journey high and low and all points in between. I’m not exaggerating when I say, for my young self, it was a revelation.

In 1972 the pair decided to cut a record together. Using two tape machines Eno alternately recorded and looped Fripp’s guitar playing, creating two aurally dense tracks that each took up one full side of the LP.

The album was released under the title “No Pussyfooting” on Island Records in late 1973, and everyone just HATED it. It didn’t chart in the U.S. or the U.K. and was dismissed by critics and even the label.

After a successful solo career from Eno, several more awesome King Crimson records, and a re-release in the ’80s, “No Pussyfooting” built up a respectful following as an early entry in what became a collaboration that, 41 years later, is still going strong.